Pixar’s “Soul” and a New Era of Animation
With a bowl of homemade popcorn in front of me, I mentally prepared myself for another masterpiece by Pixar studios as the opening scene of Soul started to play on Disney+. From its exploration of the relationship between passion and capitalism in Ratatouille to the allegorial racial tensions in Zootopia, Pixar has become reputable for its thought-provoking themes. However, Soul is arguably the most nuanced film that the studio has produced. In the film, Joe (Jamie Foxx), a part-time school music teacher, is finally given the opportunity to perform with his idol, Dorthea Williams. (Angela Bassett). Although Joe dies in the first few minutes of the movie, he is given another chance at life if he can help an unborn soul named Twenty-two (Tina Fey) find her passions.
Many of the criticisms of Soul confront its heavy themes, asserting that children would be bored or confused by its messages. Nonetheless, noting the film’s subtleties, secretivity in its trailers, and lack of consumerism (which is rare in Pixar movies, let alone Disney movies), I can only assume that this is intentional: Soul is aimed towards older audiences. Oftentimes, since many animated works are geared towards young children, animation is not respected as a serious genre. Yet, animation is a tool, much like the vivid technicolor used in The Wizard of Oz or the type of lens a cinematographer uses for their shots. Thus, Soul should not be judged as a “kids’ movie,” but rather critiqued solely on the basis of artistry.
As always, Pixar’s quality animation is breathtaking. While expected, it should not be overlooked. The blend of 3-D and 2-D animation is natural and adds to the story. The bustling streets, glistening buildings, and stunning landscapes of New York City are strengthened by Ross and Reznor’s jazz compositions. Moreover, the message was, at least for me, relevant and essential. By the end of the film, the audience is shown that we are not solely defined by our passions but also construed by the simple joys in life.
Admittedly, the storytelling had some flaws. While Pixar’s trademark is handling complex, real-world issues, this project was ambitiously risky. A mentor once told me that the most needlessly difficult works to undertake (not just in film, but in any art form) are complex, vague topics, such as “war,” “poverty,” or in this case, “the meaning of life.” For the filmmaker(s), it means navigating an endless road of controversy and unintended implications. For the audience, it means consciously donning a defensive shield to avoid becoming “indoctrinated” or “preached” with the filmmaker’s ideas. Pete Docter, as the experienced Chief creative officer of Pixar, tries to compensate by skillfully maintaining secrecy in Soul’s trailers which allowed the audience to watch the movie with an open-mind, stripping down the layers of their defensiveness. The transitions between the “soul world” and “real world” were smooth and clear throughout the film, suggesting that writers have spent long hours perfecting their characters and story arcs. Regardless, many subplots in the film could have been explored more in-depth which turned into underdeveloped stories that were hindered by time constraints. There were many side characters that could have been crucial to enhancing Joe’s story but were barely mentioned in the finalized product, including Paul (David Diggs), Joe’s rival, Joe’s father, who influenced Joe’s love of jazz, or Connie (Cora Champommier), Joe’s student who grapples with her love of music and potential embarrassment. To go on, much like how Disney presented its first African-American princess in Princess and the Frog, Soul has garnered critique about how Pixar’s first African-American character is transformed into a bluish-blob and a cat for the majority of the film. However, unlike in Princess and the Frog, most of the characters in the film are African-American. (And in their own bodies). While Pixar has created a relatable character, critics raise a valid point that should have been given more attention during the filmmaking process, especially considering that majority (if not all) of Pixar’s protagonists have been white.
Soul is far from a “perfect movie.” Regardless, it signifies a reformation in the film industry which can allow for a more diverse field of themes that can be accepted and expected in animated films.
